Maas and co are clearly wonderful, almost psychic conjurors and entertainers, but they are no Charlotte Brontë or Edith Wharton, authors who gripped and entranced me in my own turbulent, disillusioned and yes, "heteropessimist" early days.Of course people should enjoy and consume romantasy if that's what fires them up. And no wonder that it does: the genre is, at heart, both crude and obvious, which chimes perfectly with the sensibilities of the social-media age. But I can't help but feel that its rise marks both the end of the heyday of English literature, and perhaps of maturity itself. (Zoe Strimpel)
Ten of us are on two long rectangular tables set side by side –a bookshop owner, a chef, a snowboarding instructor, a wildlife conservationist, a Wall Street banker turned photographer, a retired Indian Administrative Services officer, a therapist, two writers and a librarian. We are trying to understand this complicated poem, this pastiche of memoir, of descriptions of the landscape, of dreams and an obsession with Emily Brontë. [...]Running through these landscapes of grief and loneliness, is our narrator’s obsession with Emily Brontë whose collected works she carries around with her. The fifth Brontë sibling, a motherless girl who wrote poetry and but one novel – Wuthering Heights, which was published when she was 29. A year later, she was dead.“Emily Brontë was good at cursing”, our poem’s narrator tells us.Elsewhere she puzzles “How did Emily come to lose faith in humans?”What did Emily know of evil and heartbreak? How could she write poetry and a novel like Wuthering Heights, so full of savagery and passion? Our narrator wonders.Sitting at the table, we are trying to make sense of these interwoven worlds as well.“What do the ‘hanged puppies’ in the poem mean?” the snowboard instructor says.“It’s a line from Wuthering Heights,” someone replies.“But hanging puppies-why?” the chef says.“Emily Brontë was an animal lover, maybe that’s her way of showing villainy and the wildness in human nature, to have characters like Hareton and Heathcliff hanging puppies,” I say. I have wondered about this myself earlier and, naturally, have already researched it online.Someone orders a black bean burger, someone else an avocado sandwich. The food arrives, the bread is broken and passed around. The conversation flows on, drifting through Brontë’s dark moors, Carson’s dreams and her grief, and back into our own lives.I look at my watch. Somehow, three hours have passed. (Sonya Dutta Choudhury)
1 Jane Eyre by Charlotte BrontëStarting off strong with one of my all-time favorite books we have Charlotte Brontë’s Jane Eyre (1847). Filled with secrets and a moody, gothic atmosphere, the book follows Jane after she takes a job as a governess and falls deeply in love with her employer, the mysterious Mr. Rochester. Tormented by her past, her current situation, and the dark secrets coming to light in this haunting manor, Jane is forced to face her reality and learn how to grow, making this novel a classic coming-of-age story. Considered one of the first feminist novels (as I further argued on in my AP Lit exam), Jane Eyre is a book about discovery, both of the self as of what lies beneath of what’s in front of your eyes. Full of substance, beautiful language, and one of the greatest twists in literature, Jane Eyre is just one of those books that haunts you long after finishing it and can enhance the tone of these months to come. (Renee Caballero)
There is no guarantee that a great book will also become a great film, as it’s actually seldom that they are equivalent in quality. There has certainly been no shortage of amazing classics of literature, the likes of which everyone had to read in high school, that were absolutely ruined when they were adapted to the screen. This year’s Wuthering Heights is only the most recent example, as Emerald Fennell only adapted half of the novel and seemed to entirely miss the point of what Emily Brontë was trying to say. (Liam Gaughan)
Adapted by Sally Cookson, Mike Ayers, and The Original CompanyDirected by Lily DybleNovember 3-7Stage 1, Northern Stage, Barras Bridge, Newcastle upon Tyne NE1 7RH, UKA Mercury Theatre Colchester, Rose Theatre Kingston and Storyhouse Chester production in association with Northern Stage and supported by a grant from The Royal Theatrical Support Trust“I am no bird; and no net ensnares me.”One woman’s fight for a life that is worthy of her courage, and a love that is worthy of her heart.Orphaned as a young girl, the passionate and sensitive Jane longs to escape the clutches of her cruel aunt.Freedom beckons when she is offered the job of a governess in the house of the brooding and secretive Mr Rochester.As intrigue turns to attraction, Jane finds herself drawn in by Rochester’s mercurial charm. But when the truth finally comes out, she will be forced to choose between the man she wants, and the woman she wants to be.Nearly two centuries on, Charlotte Brontë’s groundbreaking story is as thrilling and relevant as ever in this bold production directed by 2025 RTST Sir Peter Hall Director Award-winner Lily Dyble, based on Sally Cookson, Mike Akers and the original company’s trailblazing adaptation.Audio described and British Sign Language interpreted: Thu 5 Nov, 6pmInterpreted by Caroline RyanCaptioned: Sat 7 Nov, 2.30pm
A lifelong Brontë reader, I received the book eagerly, but did not take its editor’s words literally. Having read it, I realize she meant them that way. There are biographers desperate to know a life from the outside in and the inside out, and there are biographers aware that their subject is fundamentally unknowable. Lutz is the latter, and she works instead to produce a social and domestic history of those closest to Emily, a natural history of the West Yorkshire moors Brontë immortalized in Wuthering Heights, and a material history of Emily’s writing practice which, in the hands of Lutz’s meditative attention, approaches the mystical. “Expertise,” dry and academic, is the wrong word to characterize Lutz’s understanding of the Brontës. Victorianists tend to work exclusively with the established texts of their subjects, but Lutz spent several years immersed in Emily Brontë’s hand-written manuscripts (detailed photographs of these are included in the book) and inhabiting Brontë’s hometown of Haworth, West Yorkshire, and Brussels, where she studied alongside her older sister Charlotte at the Pensionnat Héger. Lutz pored over the local weather reports of Emily’s lifetime and learned the flora and fauna of the moors so integral to Brontë’s life and work (Emily could identify local birds by their song and kept a collection of their feathers she found on her daily walks). In This Dark Night, Lutz’s deep knowledge of Emily Brontë transcends biography and—appropriate for her subject, who wrote one of the most famous ghost stories in Western literature—approaches a haunting. (Emily Van Duyne)
Jane Eyre, the classic novel by acclaimed author Charlotte Brontë, has been beautifully reimagined by director Lily Dyble, as it tours across England, where it made its second stop at the Rose Theatre in Kingston, from 13th - 24th October 2026.What captured the imagination of its spellbound audience, was the accuracy to the timeless storyline, which is what makes it one of the most read novels of our age, whilst also portraying Jane in an incredibly genuine and down to earth way, which could perhaps be argued is missed by the countless movie adaptations of the book.When asked about her thoughts on the play, actress Aamira Challenger, who played both Grace Poole and Diana in this production, commented, "There are so many angles that a director could choose to explore and, in our production, director Lily Dyble wanted to highlight Jane’s capacity for emotion and self-determination. Jane has big feelings, strong will, and the tenacity to challenge the society she is within".Moreover, the staging and special effects utilised in the play, while at first appearing quite modern for such a classic, allow for thought-provoking ideas on dynamics between various characters, as well as showcasing Jane's internal struggle throughout the play. (Ava Sims)
Nella scrittura di Brontë, il paesaggio non accompagna i personaggi: li determina. Il vento, l’isolamento e la natura ostile costituiscono un’estensione delle loro contraddizioni. Evocare la brughiera non basta; occorrerebbe farne una presenza drammatica. Altrimenti lo Yorkshire diventa una cartolina piuttosto malinconica, con il vantaggio di non richiedere neppure un viaggio. Il limite maggiore dell’operazione rimane tuttavia l’incapacità di distinguere la passione dalla sua rappresentazione esteriore. Il tragico nasce dalla tensione fra ciò che viene espresso e ciò che resta impronunciabile. Quando ogni sentimento pretende immediatamente il proprio culmine, la progressione drammatica si annulla. Persino Wagner, che aveva una certa familiarità con gli amori impossibili, sapeva alternare il fortissimo al silenzio. Qui l’intensità rischia di diventare una condizione permanente, con il prevedibile risultato di non impressionare più nessuno. Cime tempestose richiederebbe una regia capace di interrogare l’ambiguità morale dei protagonisti, anziché illustrarne incessantemente le sofferenze. Brontë non aveva scritto un manuale di educazione sentimentale, ma un romanzo nel quale l’amore diventa una forma di sopraffazione. La differenza è sostanziale. Quando il tormento si trasforma in maniera e la crudeltà in convenzione melodrammatica, anche la più feroce delle passioni perde la propria capacità di inquietare. Heathcliff, in fondo, non ha bisogno di gridare per essere terribile. Gli basta esistere. Il resto è meteorologia. (Davide Oliviero) (Translation)
With its dramatic landscapes and links to the Brontë sisters, Haworth has long been a popular destination for tourists.But recently, the West Yorkshire village has been busier than ever, according to some residents and business owners, and is now attracting a new type of visitor - one brought in by how picturesque the place looks on social media, particularly during autumn.A quick search on platforms like TikTok or Instagram shows a whole host of content promoting Haworth as a must-visit this October.Posts also highlight the queues that can form outside shops, especially during the weekend. (...)Karen Roberts has worked at The Cabinet of Curiosities for nearly 20 years and says the shop has been especially busy this year."It suddenly started about six weeks ago to the point where we've had queues outside every weekend waiting to come in," she says."This week, with it being half-term, we've literally had people outside every day."An old-fashioned shop front with large windows showing a Halloween display, with pumpkins and autumn leaves. A queue of people can be seen standing outside the door.Although the business previously had a social media presence, she thinks the reason it "all blew up like this" is due to the sheer amount of people posting independently about the shop, and the village, on their own accounts."We've always let people film, we've never had a problem with that, but definitely people are asking me now, can they come in and film?," she explains."Then they share it, and every day you turn on Facebook and you go, 'oh my God, there is more'."Many customers know about the connection to the Brontë family, and the parsonage where they lived is now a museum.Emerald Fennell's 2026 adaption of Wuthering Heights, starring Margot Robbie and Jacob Elordi, also sparked an interest in Brontë country. (...)Enjoying a day off work, Ella and Brian Thomas travelled from Greater Manchester to visit Haworth, inspired by a friend's Instagram post."With Wuthering Heights coming out, I think a lot of people have been seeing it on TikTok and making videos, so it was me who suggested to come here," Ella says.The couple wanted to find somewhere "nice and autumnal" for a walk, and say they've previously visited York and Edinburgh for a "similar vibe"."I knew it was the home of the Brontës, but I didn't know much more of the history than that," Brian explains. (Fiona Callow)
Haworth has been hailed as one of Britain's prettiest villages, drawing visitors with 70 independent shops, the Brontë Parsonage Museum and stunning autumn countryside walks to the Brontë Waterfall. (...)Haworth is inextricably linked with literary heritage, having been home to the Brontë sisters, whose celebrated works including Jane Eyre and Wuthering Heights have left an indelible mark on English literature. The village is currently adorned in its autumnal finery, though visitors keen to soak up its seasonal splendour are fast running out of time. (Jamie Barlow and Alycia McNamara)
Wandering through the Birthplace, one can imagine the young Brontës scurrying around, conjuring up stories. Their move to Haworth, then a poverty-stricken town on the edge of the moors, helped to inspire some of the greatest works in literature – but also brought huge tragedy as death and disease destroyed the family. So it’s no wonder their father, Patrick, always associated Thornton with joy.The recent paranormal occurrences may be a figment of people’s overactive imaginations – a trait abundant in the magnificent Brontë brains. But perhaps the property’s ambitious restoration has inadvertently disturbed the spirits of the country’s most famous literary dynasty, desperate to return to the place where they were happiest and where the spark of genius was first lit. (Lisa Byrne)
Well, if you know us for some time, you probably know what we think about all this hogwash. It makes for some nice nonsense laughs, but the moment people take it too seriously, we don't play the game. Sorry. No.
Indeed, Janusz Majewski’s 1970 classic Lokis is widely credited as Poland’s first color horror film and a cornerstone of Polish genre cinema after World War II. (...)In a Jane Eyre-esque scenario, the Count’s mother (Zofia Mrozowska) has been locked away for decades, having suffered a mental breakdown after being mauled by a bear on her wedding night. (Maria Kamińska)
La nueva Cumbres borrascosas ha transformado la novela de Emily Brontë en una fantasía gótica-pop de vestuario deliberadamente anacrónico, erotismo exacerbado y banda sonora de Charli xcx. Ya no se trata únicamente de encontrar nuevas lecturas de los clásicos, sino de remodelarlos abiertamente según los códigos estéticos y emocionales del presente. (Carlos Jonic) (Translation)
En prêtant sa voix à Antoinette, enfermée et présentée pour folle dans "Jane Eyre" de Charlotte Brontë, Lilia Hassaine signe avec "JE" un roman subtil, sombre et contemporain. (...)Quelle est la genèse de "JE" ?C'est suite à une situation vécue que j'ai repensé à ce personnage féminin et que j'ai relu le livre parce que je me suis demandé pourquoi elle se rappelait à mon bon souvenir. Je me suis rendu compte des correspondances et des liens qui m'attachaient à elle. (...)Et pour faire du personnage d'Antoinette la porte d'entrée pour évoquer ces drames dont sont toujours victimes les femmes et de montrer que, finalement aujourd'hui, rien n'a vraiment changé ?Effectivement, ça existe encore aujourd'hui. Il y a des choses qui ont évolué, mais encore une fois, dans la mécanique, dans ce système d'horlogerie qui permet de mettre une femme sous cloche, il y a des mécanismes communs. Comment s'y prend-on pour isoler une femme ? Je voulais vraiment comprendre comment on s'y prenait de manière très concrète.Vous avez eu l'occasion de répéter à plusieurs reprises que vous détestiez les appellations "pervers narcissique" et "emprise" pour décrire ces mécanismes. Pourquoi ?Parce que la littérature n'a rien à faire avec ces mots et ces concepts. On n'a pas besoin de mettre une étiquette. En littérature, je trouve qu'ils n'ont pas nécessairement leur place. Cet homme, Rochester, c'est un manipulateur, un homme dangereux et un minable. C'est pour cela que la littérature est utile. Elle universalise. Quand on se rend compte à quel point c'est banal, on se rend compte aussi à quel point c'est grave, paradoxalement. Ce n'est pas parce que ça ne touche qu'une personne que c'est plus grave. C'est précisément parce que ça se reproduit, parce qu'il y a tout un système qui rend ça possible, que c'est très grave. (Philippe Manche) (Translation)
Stærkt understøttet er balletten af dens musikalske underlag i form af en mesterlig og respektfuld behandling af Mendelssohn-søskendeparret Fanny og Felix’ klaverkompositioner og strygekvartetter, der yderligere perspektiveres af Schubert-værker for samme besætninger. Ikke blot er disse musikalske kilder vævet tæt sammen af komponisten Philip Feeney med stemningsfulde og kontrastfyldte effekter, men samtidig sætter det hele samtiden, hvori dramaet udfolder sig, ind i et sitrende musikalsk lydrum, som løfter både sindet og opmærksomheden.Der er således mange gode takter, musikalsk såvel som koreografisk, i denne ballet. Alligevel reduceres indtrykket noget af den lidt for store trinmæssige monotoni i bevægelsessproget, som med sit forcerede ekspressionistiske udtrykstempo i begge timelange akter fortegner de stærke underliggende følelser. Sikker dans og godt scenisk håndværk er der dog til stede fra først til sidst i dette voldsomme sjælsdrama. (Knud Arne Jürgensen) (Translation)
The first version came from the girl group Pandora’s Box, assembled by Steinman, and was followed by Dion’s version, with Meat Loaf releasing the final recorded version in 2006 for Bat Out of Hell III: The Monster Is Loose. For its story, Steinman parsed Emily Brontë’s 1847 novel Wuthering Heights, imagining the characters in an alternate universe dominated by morbid obsession.“Heathcliff digging up Cathy’s corpse and dancing with it in the cold moonlight,” as he described. Dion’s version is a modified rendition of Pandora’s Box’s recording, and leaves the presence of Roy Bittan’s grand piano; elevated with her signature, soaring vocals and overarching theatrics, as Steinman’s productions typically captured, ‘It’s All Coming Back to Me Now’ hears her transform the song into a proper rock opera. (Paulina Subia)
Spine-tinglingly eerie, Daphne du Maurier’s Rebecca (1938) is a masterpiece of slow-burn storytelling, and the scariest non-horror novel.çHeavily inspired by Charlotte Brontë’s Jane Eyre (itself pretty spooky at times), Rebecca is a mystery and Gothic romance wrapped up in one, with first-person narration – by a never-named narrator, no less – which expertly draws readers into its finely drawn world of creaky mansions, forgotten boathouses, and whispers in the night. (Steven Lantier)
Drawing inspiration from lovelorn Wuthering Heights character Catherine Earnshaw, Helen, 36, commanded attention in a cleave-enhancing corset and red skirt as she let her hair down at Soho venue The Box. (Jason Chester)
Finally, The Eyre Guide reviews Marian Yee's 4 Janes, "a fascinating read".
1 Nov 202611:00 - 13:00Meet outside The Old School Room, HaworthJoin Penistone Hill artist-in-residence, poet Kristina Diprose, and explore the folklore, natural and industrial history of the Haworth moors.Discover how bog bursts, bog bodies and barghests inspired the Brontës, which birds are missing from our skies, and how old quarry and coal mine sites are rewilding.The walk is approximately 2 miles and is expected to take 2 hours. Bring shoes suitable for hilly, uneven terrain and be prepared for wuthering weather!This guided walk is inspired by Kristina’s new audio trail over Penistone Hill called ‘How to Talk to the Moor’, being launched on 26 October.
The guided walk, taking place in Haworth on Sunday, November 1 from 11am to 1pm, will explore the folklore, hauntings and industrial history behind some of Yorkshire’s best-known literary works.Led by poet and Penistone Hill artist-in-residence Kristina Diprose, the event is titled 'What Haunts the Moor?' and will take participants from Haworth to the Penistone Hill trig point.Ms Diprose described the event as a "A ghost walk with a twist."We'll be going on a short walk from Haworth up to the Penistone Hill trig point, exploring what haunts the landscape from bog lore, its industrial past, and from the archives of the Brontë Parsonage Research Library."The walk will explore stories of bog bodies, ghostly black dogs, forgotten industries, and the enduring mysteries of the moorland that helped shape the imagination of the Brontë sisters.The event is inspired by Ms Diprose’s audio trail, How to Talk to the Moor, which was created during her residency on Penistone Hill.Ms Diprose said: "I've been artist in residence on Penistone Hill from August to October and have loved learning about the hidden history of this iconic landscape.She said "It offers a chance to share some of the stories and facts I've been inspired by in my writing, and to get to know Brontë country as you've perhaps never seen it before."The walk will also touch on the moor’s literary legacy, including references to the supernatural black dogs of Yorkshire folklore, known as the barghest and gytrash.Ms Diprose said: "I love how Charlotte Brontë weaves Yorkshire gytrash folklore into Jane Eyre, using the black dog myth to give Jane's first encounter with Mr Rochester a sinister edge of foreboding."In addition to ghost stories and folklore, the walk will highlight the environmental importance of the Haworth moors as a carbon store and nature reserve.Ms Diprose said: "The Haworth moors aren't just a historical or a literary curiosity – they're a vital carbon store and habitat, including for threatened species of ground nesting birds like the curlew."Art is one of the ways that we can shine a spotlight on why these places are worth celebrating, exploring and cherishing for future generations."The two-mile walk is expected to take around two hours.It is free to attend, but booking is required.Walkers will meet outside The Old School Room in Haworth. (Amelia Short)
The Ottawa Little Theatre knows how to set the stage for spooky season in the city by selecting a play that falls into the realm of the macabre. This year, OLT chose Charlotte Brontë's gothic romance, Jane Eyre, as its Halloween offering. Adapted for the stage by Erin Shields, this version of the literary classic focuses less on the romance between Jane (Lauren Reisig) and Rochester (Josh Sparks), and more on Jane's intellect, confidence, and free spirit in the face of disparagement and despair. [...]This set, designed by Lindsay Laviolette and Venetia Lawless, is more stripped down than is common for OLT these days. The stage contains a large staircase with an open platform representing the upstairs portion of the house; the far right and left areas are also used to extend the space into a bedroom on one side and an outdoor area on the other. Because the staging is so open and scaled down, it leaves much to the imagination; however, since there are multiple locations in the story, this is a logical way to ensure that the narrative can flow without the need for elaborate sets. Even though I understand why the designers took this route, I still lament the missed opportunity to create a lavish, gothic estate.Dawn Fanjoy’s costumes are period appropriate, and I particularly enjoyed young Jane’s quick change into a pinafore when she left for school. The use of a puppet, designed by Chelsey Prince and Damian Piper to represent Rochester’s dog, Pilot (puppeteered by Prince and Gabrielle Dumonceaux), is unique, even though the dog’s role is limited. Some microphones seemed underpowered on opening night, making certain cast members difficult to understand. This was especially true with Gordon’s singing voice. Hopefully, mics will be adjusted in future performances, and this will not be an ongoing issue. The sound of horse hooves is cleverly paired with a wheeled stagecoach prop, creating a convincing illusion without causing any noticeable disruption to the set (sound design by Jana van Wyk). Roxane Boucher’s lighting design is also highly effective, especially when combined with the boom of clapping thunder to set the scene. Scene changes done after the lights have faded allow them to be accomplished seamlessly.There are many characters in Jane Eyre and as a result, there are multiple double and even triple roles; but because of the story’s distinct chronology, aided by good direction (Lindsay Laviolette), the audience is never in doubt as to who is who.Despite their obvious acting abilities, the chemistry between Sparks and Reisig was a bit stiff on opening night, but it did warm up as the show progressed. Conversely, the chemistry between Reisig and Herrejón, who portrayed St. John, a competitor for Jane’s affection, was immediately apparent.Although not without its flaws, Jane Eyre is a well-executed play that provides an appropriately spooky vibe for this Halloween season. The decision to keep the feminist dimensions of Jane's character at the forefront helps the story remain engaging for modern audiences, as well as literature aficionados. (Courtney Castelino)
The trend arrives as 2026 has reached a new peak of period drama fever, with remakes of Wuthering Heights, Sense and Sensibility and Pride and Prejudice arriving on our screens this year, with the latter two’s costume designers leaning on a range of references from Elizabethan, Georgian and Victorian dress to create the show-stopping pieces spotted on screen. (Chiara Wilkinson)
by Emily BrontëTranslated by Jordi DoceIllustrated by Elena FerrándizPrologue by Gabriela MistralNórdica LibrosISBN: 979-13-87922-41-2October 2026Una preciosa edición bilingüe ilustrada por Elena Ferrándiz que reivindica la obra poética de Emily Brontë.Los poemas de Emily Jane Brontë, una de las escritoras más relevantes del siglo XIX, son apasionados y poderosos y transmiten la vitalidad del espíritu humano y del mundo natural. Tan solo veintiuno de sus poemas se publicaron en vida. Este volumen, en edición bilingüe, reúne dichos poemas y nueve más que se le atribuyen, con evocadoras ilustraciones de Elena Ferrándiz.Emily Dickinson (1830-1886), amaba los poemas de Emily Brontë y pidió que se leyera «No Coward Soul», incluido en este volumen, en su funeral.
Further information in El Feminista. Illustrations published in Nórdica Editorial's X account.
A stellar cast lets the audience fully absorb the story, and the roles of Young Jane (Meara Gordon), Jane (Lauren Reisig), and Mr. Rochester (Josh Sparks) were especially key in this production. In their period costumes and with their accents, we’re brought into their world, their time, their culture, and their struggles.The set and staging were beautifully done, while the music and sound design allowed for seamless transitions, beautiful montage moments marking the passing of time, and added texture to the storytelling. There are a few large tragedies that arise in the story that are represented in strong and creative ways to ensure audiences feel the impacts of these moments. [...]Even if you’re familiar with the story, you’ll appreciate this adaptation and director Lindsay Laviolette’s shepherding of this production.While times have changed in many respects, the themes of the story are still relevant and resonant today. Grab your tickets and enter Thornfield Hall to uncover the mysteries in store. (Samara Caplan and Laura Gauthier)
Storyhouse Creative Director Suzie Henderson said today: “Excitement is building with just two weeks to go until this thrilling new adaptation of Charlotte Brontë’s much-loved masterpiece opens on the Storyhouse stage as one of the undoubted highlights of our autumn season.“Jane Eyre is a Storyhouse Originals production in partnership with the Mercury Theatre at Colchester and Rose Theatre at Kingston, and it’s been an exhilarating collaboration, creating a very special piece of live theatre which under Lily Dible’s exciting direction is both powerful and utterly compelling.”
When I was at university, I developed a quiet resistance to a particular kind of novel. I found myself increasingly irritated by reading lists populated by women who unravelled. Women in attics. Women in unhappy marriages. Women drifting towards breakdown. Women whose inner worlds became more and more fractured until they could no longer function within the worlds around them.Somewhere among them was Birgit Vanderbeke's The Mussel Feast. [...]Many of the books I resisted at university have stayed with me nonetheless. The Yellow Wallpaper. The Bell Jar. Wide Sargasso Sea. Different books, different women, different circumstances. Yet all return in one way or another to the relationship between power and distress. (Emmelia Georgiou)
Walk into a bookstore today, and you’re likely to see a gothic classic like Shirley Jackson’s The Haunting of Hill House on a display table alongside new gothic novels. On screen, films like Wuthering Heights and Nosferatu remind us of the enduring appeal of gothic romance and horror. And in music, Taylor Swift’s The Tortured Poets Department and Ethel Cain’s Preacher’s Daughter blur the line between bliss and ruin, making love songs feel like psychological landscapes to survive.Why all this darkness lately? I think it’s partly because the genre taps into something emotionally relatable. In a post-pandemic world, so many of us work from home or feel isolated in other ways. We’re tired of being online all the time, and there’s so much uncertainty about what lies ahead. Basically, you don’t have to live in a shadowy castle to feel a little gothic in your head and your heart. Gothic fiction gives voice to our loneliness and dread.On the flip side, gothic stories offer an escape hatch from the ordinariness of our own world. They transport us to richly imagined places that feel deliciously sinister and dramatic. We don’t just read gothic fiction because we’re afraid of the dark. Sometimes we read it because the dark is more interesting.
Wuthering Heights (2011)Emerald Fennell’s recent madcap take on Emily Brontë’s operatic tragedy was fun, but if you’re after a more grounded interpretation, consider Andrea Arnold’s blustery, acutely observed vision of Cathy and Heathcliff’s doomed love. It’s the first adaptation to cast Black actors as the Byronic hero—James Howson and Solomon Glave portray his older and younger selves, respectively, opposite Kaya Scodelario and Shannon Beer as Cathy—and captures the rain-soaked, muddy bleakness and beauty of the Yorkshire moors in a way that chimes with the source material. This is a strange, twisty book which, with its layers of narration and disturbing coda, feels almost impossible to translate to the screen—but this adaptation comes close, at least in echoing its wild, unruly spirit. (Radhika Seth, Michelle Ruiz, Chloe Schama, Kristin Auble, Alexandra Hildreth , and Donya Momenian)
In Brontë footstepsA walk that’s full of history as one that the Brontë sisters would have been familiar with on the wild moors.Start at Stanbury bus terminus and walk uphill on Back Lane.At the first road junction, continue following the road as it changes from a hard surface to a rough track. Just beyond a parking area, the rough track divides. Here, take the right-hand track uphill to the gate and cattle grid at the top of the incline.Go through the gate and on to open moorland to where the track divides into three – follow the right-hand track and continue uphill all the way until you reach the ruin ofTop Withens farm, thought to have inspired Emily Brontë’s Wuthering Heights.At this point, you can head back down to Stanbury or go a little further for some incredible views. Walk to the rear of the building and take the narrow well-defined path leading steeply uphill and slightly to the right, in a north westerly direction. Follow this narrow path across moorland and keep right when you reach a point where another narrower path bears left. You will shortly see the Delf Hill trig point ahead. At the trig point take in amazing views all around, from Boulsworth Hill and Pendle Hill to the left, across the Yorkshire Dales, and beyond.Back in Stanbury, head to traditional village local, Wuthering Heights Inn.The pub also has a campsite with spectacular views.Top WithensDistance: Around two milesStart/finish: Stanbury bus terminus, Hob Hill, at the western end of Stanbury Main StreetDifficulty: Suitable for most reasonably fit occasional walkersParking: Limited parking near the bus terminus, but there is an informal parking area 300 yards up Back Lane, where the walk route passes. Parking is also available in Haworth village, around 1.7 miles awayPub: Wuthering Heights Inn, StanburySee the full walk: With longer route options, at visitbradford.com
Cartier’s Devonshire black opal tiara and necklace, which is expected to fetch up to £998,000. This item’s last public appearance was at the London premiere of the film Wuthering Heights, when Emerald Fennell, the film’s director, wore it on the red carpet.
Fiato Ai Libri: Cime Tempestose
Voce narrante: Marika Pensa
Chitarra e sequencer: Omar Nedjari
Auditorium "Iginio Ferrini", Via Cortivo, 30, 24067 Sarnico BG, Italy
Fri Oct 30th 9:00pm
The event offers a theatrical reading based on Emily Brontë’s classic, set on the English moors at the house of Wuthering Heights. The story follows Catherine and Heathcliff, exploring the dynamics of a family history marked by intense passions, social tensions, and bonds that struggle to withstand resentment and injustice.The event includes an introductory talk by Stefania Consonni, Associate Professor of Literary Criticism and Comparative Literature in the Department of Foreign Languages, Literatures and Cultures at the University of Bergamo.Nella brughiera inglese si staglia Wuthering Heights, una casa isolata e battuta dai venti. Attorno a essa, una notte d’autunno, si aggira un fantasma in cerca di redenzione. È Catherine che, obbediente alla preghiera di Heathcliff «perseguitami, non lasciarmi solo in questo abisso dove non posso trovarti», torna, ancora una volta, da lui. Così inizia il racconto di una storia familiare, in cui l’amore, nonostante le sue espressioni più viscerali, cerca di sopravvivere alle ossessioni, al rancore e alla maledizion
dell’ingiustizia sociale.
Fri 30 Oct, 6:00pmBrontë event Space in the Old School RoomAs part of our 10 year anniversary celebrations of Sally Wainwright’s Brontë biopic To Walk Invisible, we're welcoming production designer Grant Montgomery to share his memories of transforming Main Street back to the 1840s, recreating Church Street on Penistone Hill and the Parsonage interiors on a soundstage in Manchester.Grant Montgomery is an award-winning production designer from Scotland. He is best known for establishing the world of Peaky Blinders for which he was nominated twice for BAFTA awards. His most recent work is the Scott Frank show, Dept. Q, a global No. 1 TV show on Netflix. Montgomery’s love of research, storytelling and history has led him to lecture in universities in Ireland and across the UK, delivering seminars on period production design to postgraduate students at York University.
'Jane Eyre' (1847)I think Jane Eyre was my first "oh wow!" read as a kid, and what I remember most is not Rochester, Thornfield, or even the woman in the attic. I remember Jane. Charlotte Brontë gives a poor, plain, orphaned girl the kind of interior authority nineteenth-century literature was not exactly handing out freely, and Jane uses every bit of it. When Rochester tries to contain her, she answers, "I am no bird; and no net ensnares me; I am a free human being with an independent will." The sentence itself refuses containment: one declaration pushes into its next iteration until Jane has talked herself all the way from metaphor to a plain statement of freedom.That's why Brontë's prose feels so immediate nearly two centuries later. Jane turns a conversation into an existential crisis because the real drama is whether she will betray herself to get something she desperately wants, and Brontë lets us consider every bit of the argument. Jane also talks directly to the reader, collapsing the distance between the girl experiencing the story and the woman who survived long enough to tell it, giving the novel an intimacy that feels startlingly modern. Even when the novel gets wildly Gothic, the prose keeps returning us to one stubborn consciousness asking what she owes herself. Love is important, but so is dignity, and Jane does not simply want Rochester; she wants him without having to disappear inside him. (Linda Chavers)
Elizabeth Hand spins a well-plotted Gothic tale with echoes of “Wuthering Heights” and Daphne du Maurier’s classic novels in her moody historical “Unspeakable Things.” (Oline H. Cogdill)
learned [...] a lot of Paul Gordon, who’s written musicals like Jane Eyre and Daddy Long Legs. His piano parts sit strangely well in my hands.
by Juan Antonio MuñozDirected by Claudio PuellerWith Begoña Basauri, María Jesús Marcone y Nathalia AragoneseOctober 30 - November 29Centro Cultural Las Cumbres, Teatro Municipal de Las Condes, Av. Apoquindo 6570, 7560784 Las Condes, Región Metropolitana, ChileCharlotte, Emily y Anne Brontë, tres autoras fundamentales de la literatura universal, llegan al escenario con Las hermanas del viento, obra que se estrenará el próximo 30 de octubre en el Centro Cultural Las Condes. El montaje cuenta con las actuaciones de Begoña Basauri (Charlotte), María Jesús Marcone (Anne) y Nathalia Aragonese (Emily), bajo la dirección de Claudio Pueller.Esta coproducción de la Corporación Cultural de Las Condes se adentra en la intimidad de la familia Brontë y en el proceso creativo de las tres hermanas, quienes, en la Inglaterra del siglo XIX, debieron enfrentar las convenciones de una sociedad que cuestionaba la creación literaria femenina. Bajo los seudónimos de Currer, Ellis y Acton Bell, buscaron abrirse camino en el mundo de las letras mientras lidiaban con pérdidas familiares, deseos de libertad y sus propios conflictos personales y artísticos.“Para la Corporación es fundamental ofrecer una programación diversa, que convoque a distintos públicos y abra nuevas miradas a través de las artes. Esta coproducción nos permite acercar al público a tres autoras esenciales, cuyas historias siguen vigentes y nos invitan a reflexionar sobre la creación artística y los espacios que las mujeres han conquistado a lo largo del tiempo”, señala Martín Vial, director ejecutivo de la Corporación Cultural de Las Condes.Una mirada escénica al universo BrontëLejos de reconstruir una época o contar una biografía, la obra explora la dimensión íntima y creativa de las protagonistas a través de una puesta en escena simbólica y minimalista. El viento de los páramos se convierte en un elemento dramático recurrente, asociado al anhelo de libertad, mientras la iluminación, el espacio y el universo sonoro dan forma a los conflictos y emociones de las hermanas.“Las hermanas Brontë me interesan no sólo por lo que escribieron, sino por lo que tuvieron que atravesar para hacerlo. Sus vidas estuvieron marcadas por la pérdida, el aislamiento y las convenciones de una sociedad que imponía límites muy estrechos a las mujeres. Sin embargo, no quiero convertirlas en emblemas ni hacer de ellas un ejemplo de resistencia. Me interesa su singularidad, sus contradicciones, sus distintas maneras de enfrentarse al mundo”, explica el autor, Juan Antonio Muñoz.La obra también indaga en la relación entre la vida y la ficción, y en la escritura como una experiencia que compromete profundamente a quien crea: “ese instante en que crear deja de ser un acto voluntario y se vuelve una experiencia física, casi una posesión; cuando escribir significa exponerse, desgarrarse, sobrevivir a algo que no se puede dominar por completo”, agrega el dramaturgo.Para el director Claudio Pueller, el montaje pone el foco en la intensidad de las vidas y los mundos interiores de las protagonistas. “Charlotte, Emily y Anne habitan la escena como presencias atrapadas entre la realidad y la ficción, entre la casa familiar y los mundos que inventan para sobrevivir”. Así, la rectoría de Haworth se transforma en una arquitectura mental que parece estrecharse a medida que las voces de las hermanas intentan expandirse.El montaje cuenta con diseño integral de Monserrat Catalá, creación sonora de Jorge Martínez Flores y propuesta lumínica de Ángel Solovera.
Further information in Culturizarte (Chile).
The synopsis is: On a present-day American ranch, Cathy and Heathcliff, the orphan her father raised as his own, share a love that borders on obsession—until their father dies and her vengeful brother Hindley returns to tear them apart.It stars Jean Evans, Ethan Vaughan, Gabriel Quintella, Maia Sky, and Dante Ayala.Vaughan plays the role of Heathcliff Earnshaw in “Wuthering Heights.” [...]On starring in “Wuthering Heights,” he stated, “That was also such an honor! I had so much material to pull from. These are legendary characters, a legendary story, and a legendary original author.”“It was a lot of fun to shoot,” he noted. “What I liked most about my character is that he has contradictions, and he was a very confused person. Honestly, that was very fun to play.” [...]“I play Bella in ‘Wuthering Heights.’ I loved how she was so sweet and she was so selfless. Did so many things for other people and put herself behind them,” she said. [...]When asked if she drew any inspiration from the Margot Robbie and Jacob Elorbi movie, she responded, “No, because I was told that we were doing a slightly different version. It was very different. I wanted to create something that was unique and my own.” (Markos Papadatos)
There are other amateurs, especially in novels from the century before. Jane Eyre paints watercolors and tells Mr. Rochester that she derives happiness from doing so.
3. ‘Jane Eyre’ by Charlotte BrontëJane begins life with little money, few allies and an upbringing that teaches her how easily people in power can mistreat those without it. After working as a governess at Thornfield Hall, she falls in love with its brooding owner, Edward Rochester. But when Jane discovers a secret that threatens the future he has offered her, she faces a choice between the man she loves and the principles she refuses to abandon.Charlotte Brontë’s 1847 novel is a Gothic romance, but its emotional force comes from Jane’s insistence on her own worth. She wants love, companionship and a life beyond mere survival. What she does not want is to surrender her moral independence to secure them. Her refusal to accept a relationship on unequal terms remains one of the novel’s most powerful moments.Jane’s story also explores the vulnerability of women who have little financial or social protection. Her options are constrained by class and gender, yet she insists on being treated as a person with desires and convictions of her own. In contemporary conversations about boundaries, financial independence and unequal relationships, Jane’s determination to be loved without being diminished still resonates. (Sasha Mariposa)
1. Wuthering Heights (1847), by Emily BrontëEmily Brontë’s Gothic masterpiece is remembered for its tempestuous lovers, windswept moors, and tragic family drama. However, when creating her novel, Emily Brontë chose to open with a violent and terrifying ghostly encounter. In the opening of the novel, Lockwood (the narrator) spends the night in a forbidden bedroom after being caught in a storm. While there, he reads the name “Catherine” alongside “Earnshaw,” “Heathcliff,” and “Linton,” all carved into the wooden window frame.As he sleeps, he is awoken by a knocking on the window pane and, thinking it is a branch, reaches out to break it. The reader is then startled to read that Linton’s wrist is grasped by the ice-cold fingers of Cathy’s ghost. Her specter cries that she has been “a waif for twenty years.” The story inspired countless other works of fiction, including the song Wuthering Heights by Kate Bush. (Lauren Jones)
Optical Adventure on the Moor
John Slemensek-Thorne
Explore the tiny world living on Penistone Hill
October 28, 2:00 pm
Discover nature in a whole new way and get close-up to the tiny world we usually just walk past.
Meet at St Michael and All Angels Church to watch John Slemensek-Thorne’s short film for all ages, then we’ll go on an adventure using magnifying glasses to take a really close look at the nature all around, on a 2-mile walk.
Take in the big skies and hidden stories of the Hill as filmmaker John shares his way of seeing the world.
A chance for curious children and their grown-ups to explore together, come dressed for the weather, bring snacks and a drink – and be prepared to get a bit muddy as you see the landscape through fresh eyes!
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Choreographed by Cathy MarstonDirected by Chanmin ChungWritten by Cathy Marston and Patrick KinmonthMusic by Fanny Mendelssohn Hensel, Felix Mendelssohn-Bartholdy, Franz Schubert, Philip FeeneyWith Emma Riis-Kofoed, Silvia Selvini, Ryan Tomash, Sebastian Pico Haynes, Katherine Stevens, Penelope Phelan, Carling Talcott-Steenstra, Eukene Sagues, Caroline Baldwin, Ji Min Hong, Alexander Bozinoff, Jón Axel Fransson, Andreas Kaas, Jonathan Chmelensky, Mathieu Rouaux, Isabella Walsh, Stephanie Chen Gundorph.Det Kongelige Teater og Kapel, Refshalevej 173A, 1432 København, DenmarkOld StageOctober 30 - November 11, 20.00h /12.00h (October 31)Poster foto: Klaus VedfeltProfound love, painful jealousy and dark secrets. Master choreographer Cathy Marston breathes new life into one of literature’s greatest novels.After a troubled childhood in the care of a harsh foster family, the young orphan Jane Eyre resolves to shape her own destiny. Seeking independence, she trains as a teacher and accepts a position as governess at Thornfield Hall. There, her encounter with the enigmatic master of the house, Edward Rochester, proves fateful. Though seemingly ill matched, the two fall deeply in love. Yet Jane soon discovers that Rochester harbours a hidden sorrow – a secret powerful enough to threaten their happiness.Charlotte Brontë, the author of Jane Eyre and the eldest of the three renowned Brontë sisters, caused a sensation when her Gothic novel was published in 1847. Its brooding atmosphere and supernatural undercurrents captivated Victorian readers. Equally striking was its heroine: intelligent, resolute and quietly rebellious – a new and compelling portrait of a woman’s longing and inner struggle.In recent years, English choreographer Cathy Marston has established herself as one of ballet’s most compelling narrative voices. In Jane Eyre, she unfolds the heroine’s eventful life in a work that is at once an intimate and emotionally charged chamber drama and a sweeping, full-scale narrative ballet.
So, the novel asks a more interesting question. Can a person love deeply without losing herself? Jane’s answer is yes, but only on certain terms. She leaves when staying would cost her moral independence. She returns only when things have changed. Here her inheritance matters. Independence is not just a matter of courage. Money changes her position. Once she is financially secure, going back to Rochester is a choice and not a necessity. Rochester, for his part, has lost much of his earlier power. Jane’s financial independence and Rochester’s changed circumstances alter the balance of their relationship, bringing them closer to equality.This is also why the novel can be read beyond the question of female independence. Love, in Brontë’s telling, is something Jane chooses and not something she surrenders to. A young woman can ask what independence means in a relationship. A young man can ask what equality demands of him. Rochester is charming and emotionally gripping, but he is also used to having his way. He withholds the truth from Jane and tries to set the terms of their life together. The novel does make him face those limits, and it offers a useful distinction between love and possession.Still, there is a reason not to treat this as a simple feminist text. What happens to Bertha Mason? We hear Jane’s voice throughout the book. Bertha hardly has one. Rochester’s first wife is locked in the attic and described mostly through the language of madness and monstrosity. Later writers have asked what the story looks like from her side. Jean Rhys’s Wide Sargasso Sea is the best-known example. It brings race, colonialism, and gender into questions that Jane Eyre does not fully examine.I will admit that for years, I did not push this question hard enough in my own classes. I spoke about Bertha, but mostly as a plot device or a symbol. It was easier to stay with Jane. That, I think, is the real lesson of my reaction to the Chinese decision. Familiarity can make us lazy. We teach a classic through the same categories each time, such as feminism, patriarchy, romance and Victorian society, and we stop looking for what is new. The text remains the same, but our reading of it need not.A classic should not enter a classroom carrying one approved meaning. Students should be free to admire Jane and also to question her. They should understand Rochester without excusing him. They should ask why Bertha is denied the space Jane gets. And they should connect the book to their own experience of family, school, work and relationships. In that sense, teaching a classic is not simply about passing on an established interpretation. It is also about teaching students how to read critically.This is important because many young people encounter ideas about love through films, social media and stories they read online. These tend to offer quick answers. Literature can offer something slower. It lets a reader stay with a complicated human situation and look at it from more than one side. That, to my mind, is the book’s real value for a young reader today. It does not hand over the right model of love or independence. It refuses to separate the two questions. Jane wants to be free, and she also wants to love. She wants equality without giving up closeness. The novel does not settle that tension. It makes it part of growing up.Nearly two centuries later, that tension still feels familiar. Perhaps that is why readers in China, India and elsewhere keep returning to Jane. And perhaps this is why a decision made in Beijing is worth a second look for teachers in Indian classrooms. My first answer was “So what?” I no longer think that was the right one. (John J Kennedy)
Do all directors understand lighting? “Not to name any names,” she grins, “but some are very visual, and some aren’t.” She prefers “somebody with nerves of steel who is prepared to try stuff” – like Sally Cookson, with whom she devised hit shows such as Jane Eyre and A Monster Calls. “Devised work is nerve-racking,” says Malone, “because you don’t know what you’ve got till the last week of rehearsals. You have to figure it out once you’re in the space.” (David Jays)
In 1986, he wrote the music for Peter Coe’s production of Jane Eyre, with Keith Michell and Jenny Seagrove, at Chichester Festival Theatre. (Nick Smurthwaite)
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Written by Erin Shields, based on the novel by Charlotte BrontëOctober 28 – November 14, 2026Wednesdays to Saturdays at 7:30 p.m.Matinee: Sundays at 2:30 p.m.Ottawa Little Theatre, 400 King Edward Ave, Ottawa, ON K1N 7M7, CanadaDirected by Lindsay LavioletteWith Lauren Reisig, Josh Sparks, Meara Gordon, Jorge Corichi Herrejón, Aili McNamara-Kilian, Sierra Sparks, Erin Hetherington, Jennifer Rowberry, Victoria Windrem, Thomas Jestin, Sharon Bernbaum, Laasya Kandula, Susanna Doherty, Sheila Burpee Duncan, Michael Clarke, Geneviève Audet, Megan Hepburn, Christina Roman, Gabrielle Dumonceaux.Charlotte Brontë’s haunting novel comes to the stage in a new adaptation by one of Canada’s most exciting playwrights. Erin Shields brings a sharp, witty, feminist perspective to this timeless story of an accomplished, outspoken young woman overcoming the odds to rise to her potential and claim love on her own terms.
Jane EyreJane Eyre begins on a dreary November day—“There was no possibility of taking a walk that day...”—setting the tone for the gothic novel. Autumn remains a key backdrop throughout the novel, including when she travels to Thronfield [sic] Hall for the first time (her first morning there was “a fine autumn morning”). It’s a definitive autumn classic. (Any Brontë novel, honestly, makes great fall reading.) (Emily Burack)
Kristina Diprose and John Slemensek-ThorneExplore Penistone Hill through words and filmOctober 26, 7:00pmWriter Kristina Diprose and filmmaker John Slemensek-Thorne have been exploring Penistone Hill culminating in this launch of their respective work in words and film, followed by a Q&A.How to Talk to the Moor by Kristina Diprose is a new 3-mile audio trail and nature walk from Haworth across Penistone Hill, celebrating the wild beauty of Brontë Country. The trail includes 12 ‘Way-finder’ poems across the Nature Reserve where you’re invited to listen to stories of nature recovery, folklore, hauntings, and the subterranean world beneath your feet.To launch the trail, writer Kristina Diprose and actor Beccie Allen will deliver an indoor performance of the Wayfinder sequence in full as the voices of the walker and the moor.John Slemensek-Thorne is a socially engaged artist inspired and motivated by the power the arts have in connecting us all. This will be the premiere screening of his new short film Sundial, developed over his residency, which paints an atmospheric and mediative portrait of Penistone Hill in the here and now.
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The famous Brontë sisters’ links to Co Down are to be brought to life in the former church near Rathfriland where their clergyman father preached as a young man.Although the local council took over the Drumballyroney Church building in the 90s and turned it into the Brontë Interpretive Centre, financial constraints meant it opened infrequently, leaving fans of the literary family, who travelled to the church, often disappointed to find the doors locked.However, that is about to change thanks to a local heritage group. (Anne Harper)
We are a group of volunteers working to restore the Brontë Interpretative Centre as a vibrant community hub. We are planning a year- round programme of events and activities that celebrate the unique heritage of Rathfriland and the Iveagh Region.
The next event they're organizing is
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Halloween @ Drumballyroney Old Church
31st October, 8pm
Drumballyroney Old Church and graveyard dates back to at least the C12th. It sits atop the Hill of the O'Rooneys (bards and poets to the the Magennis Lords of Iveagh) But the bards were much more than storytellers! They were 'seers' who brought the Otherworld to life through their art, oration, and ceremony. This is a legacy which continued at Drumballyroney following the arrival of Christianity.
So what stories still linger here in this quiet, threshold place?
Join us at Drumballyroney Old Church for an evening of seasonal stories and tales of the Otherworld. You will:
Learn about the ancient origins of our Halloween traditions, and ways to protect yourself when the veil is thin!
Try your hand at some long-forgotten seasonal pass-times.
Hear tales old (& new!) of fairies, Banshees, and other supernatural beings.
Learn about of Rathfriland's famous 'Hell Fire' Club, and the story of the real 'Squire Hawkins' (was there just one?).
Sample the 'Devil's Buttermilk' - made to a recipe preserved by the very same storytellers who preserved the tales of the Hell Fire Club and it's patrons.
Learn about the role of the bard/druid/storyteller in ancient times and how they engaged with the Otherworld.
Explore the atmospheric Old Church, and hear about the ancestors buried here including the Brontë family and the Magennis Lords of Iveagh.
It will be a real night to remember!
Haworth has become synonymous with literary history, thanks to the Brontë sisters who produced several famous novels such as Jane Eyre and Wuthering Heights, who called it home. The village is currently decorated for autumn – and tourists who want to experience the best of it are running out of time. Anyone planning to make the most of limited time in Haworth this autumn is advised to begin at Main Street where there are a range of independent cafes, old fashioned sweet shops and other boutique stores. (...)The Brontë Parsonage Museum is one of Haworth's most popular tourist attractions. (...)Beyond the shops is beautiful surrounding countryside accessible on foot from the village. A particularly good spot to head for is the Brontë waterfall. (Alycia McNamara)
The Lancashire Telegraph helps to pronounce Keighley correctly and also talks about the city:
One of the most memorable moments from my senior semester of college was seeing Emerald Fennel’s “Wuthering Heights.” I watched it on Valentine’s Day at Silverspot Cinema with my sister and six of her friends, and I liked it way more than I should have.Ever since I was little, I remember hearing, “The book is always better than the movie.” Up until I saw “Wuthering Heights,” I used to believe it too.When I read Emily Brontë’s “Wuthering Heights” my sophomore summer, I remember feeling underwhelmed. In my Apple Books review, I gave it three stars; I had hoped that book would shake my soul, and it did not. That was really sad for me, given how much I had enjoyed her sisters’ works — Charlotte Brontë’s “Jane Eyre” and Anne Brontë’s “The Tenant of Wildfell Hall.”The week after watching the newest adaptation of Wuthering Heights was really stressful for me. It pained me to admit to all my friends that I had enjoyed the 2026 film more than the 19th century tome. I mean, I really loved it. I was sobbing so hard that people were turning around and pointing. I wasn’t the only one — a couple other girls in my row were similarly shaken. I won’t name names, but you know who you are. (Anna Garziera)
7. The Professor Began As A Sketch For Something Greater (...)6. Shirley Is An Industrial Novel That Got Lost Between Two Greater Ones (...)5. Villette Is The Most Revolutionary Novel Charlotte Brontë Ever Wrote (...)4. Agnes Grey Invented A New Kind Of Heroine (...)3. The Tenant of Wildfell Hall Dared To End A Marriage And Defends The Decision (...)2. Jane Eyre Is A Revolutionary Exploration Of Agency (...)1. Wuthering Heights Contains Multitudes That No Other Victorian Novel Attempted (Fawzia Khan)
02. The Tenant of Wildfell Hall by Anne BrontëEven more shocking than her sister’s work, Jane Eyre, Anne Brontë cemented herself in literary history with this novel about a single mother’s surprising independence among Victorian society. You’ll love this book’s equally moody setting in a mansion that seems to take a life of its own if you’re already a fan of Austen’s Northanger Abbey. And with quite an unusual main character and subject matter for a novel of this time, this work is perfect if you’re looking for something a little more unconventional than a typical ingenue caught in a boy-meets-girl. (Eliza Monts)
Jane Eyre is the perfect gothic novel to get your teeth into this autumn, and audiences are spoilt for choice! John Caird and Paul Gordon’s musical adaptation of Charlotte Brontë’s novel is currently having its UK premiere in London, while a separate play is touring. (Tanyel Gumushan)
Da gusto verla: sus imágenes son exuberantes, pictóricas, pero a la vez realistas y delicadas. Recrean la Inglaterra del XVIII con buen gusto, aire clásico, luz natural y detalles de época, pero sin el preciosismo de postal de Cumbres borrascosas, de Emerald Fennell. A su vez, se mantiene fiel al texto original, a diferencia de actualizaciones como la de Greta Gerwig en Mujercitas (La Gaceta de Salamanca) (Translation)
Estéticamente es una obra que colma el ojo del espectador y toma decisiones formales muy interesantes, aunque no alcance las cotas que lograba Andrea Arnold cuando adaptó Cumbres borrascosas.(Alejandro G. Calvo in Sensacine) (Translation)
El razonamiento podría ser, más o menos: si, desde el lado de la tragedia gótico de Emily Brontë, recientemente funcionó la adaptación de Cumbres borrascosas de Emerald Fennell, ¿por qué no probar con el realismo irónico del otro gran monumento del romanticismo? No en balde, la versión en formato serie de Orgullo y prejuicio, el otro gran libro de Austen, ya está ahí también. Dicho y hecho. (...) Se echa en falta, y mucho, la divertida sagacidad del guion de la propia Emma Thompson en la película de 1995 que de manera tan delicada como precisa y extrañada dirigiera Ang Lee. Se agradece, en cambio, que la directora no se deje seducir por los desvaríos a los que se entregó Emerald Fennell en su lectura de Cumbres borrascosas. (Luis Martínez in El Mundo) (Translation)
Foro3D mentions Lilia Hassaine's JE novel. Canal 26 (Argentina) visits Haworth.
Unless explicitly said
